"Despite having painted self-portraits since childhood, Glynn, 29, abandoned the medium as a student at the School of the Museum of Fine Arts at Tufts University, working instead in video and performance. Things changed after graduation. “I started transitioning, and it was very intuitive to pick up a brush,” she said. “When you grow up without a reflection, sometimes you just need to make your own.” 

By Arthur Lubow - 30 November 2021

"Now, a career-spanning survey has opened at the Museum of Contemporary Art Chicago, organized by Michael Darling, the MCA’s former chief curator, and Connie Butler, chief curator at the Hammer Museum, where it will travel in 2022. The largest-ever presentation of Bowers’s work, it offers perspective on a remarkable journey.

On a formal level, it presents her path from virtuoso, if spare, drawings in the 1990s to the present cornucopia of crafted objects and installations, textiles and neons, documentary videos, works on paper and cardboard, archival presentations and more.

But the deeper journey is a personal one: How a woman born in 1965, on the launchpad of Generation X, and raised in small-town Ohio, has navigated three decades of allyship — not without missteps — to become, arguably, America’s most important political artist."

By Siddhartha Mitter - 30 November 2021

Take Two: Arlene Shechet, Nov 13–Dec 23, 2021
Ways of Seeing: Three Takes on the Jack Shear Drawing Collection is a three-part exhibition that focuses on the extraordinary drawing collection of artist, curator, and President of the Ellsworth Kelly Foundation Jack Shear. Continuing The Drawing Center’s tradition of exhibiting drawings from outstanding public and private collections, Ways of Seeing offers a revealing experiment in connoisseurship and exhibition-making. During the course of the exhibition’s fifteen-week run, artist Arlene Shechet, critic and curator Jarrett Earnest, and Shear himself will each present an installation curated from Shear’s holdings, which consist of nearly seven hundred drawings dating from the sixteenth century to the present.

"My Barbarian’s political commitments are sincere, even if they rarely read as “serious.” The group are deeply versed in capital-T theory, and their enmeshment in academia––both as art students and, later, as faculty––indexes a contradiction facing many artists of their generation, trained in a promiscuously poststudio but increasingly professionalized MFA world. Commentators, myself included, often find it difficult to characterize their work without invoking “camp.” Setting aside the long-standing debate about whether camp is a technique or a mode of reception––that is, a read––it is My Barbarian’s continual relay between intense arch knowingness and the ecstatic salto mortale that makes community theater possible (and for so many, a vulnerability to be avoided at all costs), that pushes one to reach again and again for the word. To abuse a turn of phrase from Lauren Berlant (writing on “identity”), camp is perhaps what My Barbarian are attached to but underdescribed by."

Catherine Quan Damman - November 2021

"What now stood in her place was the corpus of her work, a body of enormous heft. Louise’s very presence had always been like a force of nature to me anyway. I’d known her since the 1970s, though not that well. She was never a hangout buddy but an elder stateswoman, a serious-ass painter, a living link to the New York School stretching back to painting giants like Mitchell, Guston, and de Kooning and forward to all us wannabe-serious painters who were still in the grip of that kind of work. Sometimes I would see her in Chelsea walking around in utilitarian pants and sporty wraparound shades—and Louise was literally sporty. As a girl, she had wanted to be a professional ballplayer, and several writers since have made the connection between sports fields and Louise’s canvases, both of which are delineated rectangles of activity in which coded sets of gestures are pitched, whether baseball pitches or paint strokes. Anyway, when I saw her, I would not interrupt her because she was deep in thought—about what, who knows—but as de Kooning once said of someone, she had an abstract look on her face."

Amy Sillman - November 2021

Congratulations to the members of My Barbarian - Malik Gaines, Jade Gordon, and Alexandro Segade - on the 20-year survey of their work at the Whitney Museum of American Art! The exhibition is on view October 29, 2021 - February 27, 2022.

As My Barbarian, the artists have used performance to theatricalize social issues, adapting narratives from modern plays, historical texts, and mass media into structures for their performances. The Whitney exhibition traces the history of the group's work through video performances, documentary footage, as well as sculptures, paintings, drawings, masks, and puppets selected from their extensive archive. Alongside the exhibition, My Barbarian will re-imagine and re-present some of their past performances as a series of live programs.

The Whitney has also commissioned a new work, "Rose Bird," which will be composed, directed, and performed by the trio. This new video performance will be created in homage to the first female chief justice of the California Supreme Court, Rose Bird, a controversial figure due to her opposition to the death penalty.

My Barbarian is organized by Adrienne Edwards, Engell Speyer Family Curator and Director of Curatorial Affairs, with Mia Matthias, Curatorial Assistant.

We congratulate Math Bass on the opening of their solo exhibition at the Henry Art Gallery — consisting of a site-specific installation featuring recent oil paintings, a kinetic sculpture, and an expansive outdoor mural. On the occasion of the opening, Bass will usher in the exhibition with a performance followed by a conversation with Shamim M. Momin, Director of Curatorial Affairs. Math Bass: a picture stuck in the mirror is held in conjunction with the Feminist Art Coalition (FAC), a nationwide initiative of art projects that seek to generate cultural awareness of feminist thought, experience, and action.

"Juliano-Villani has said that her plan is “to show art that is not afraid of itself,” and the gallery’s inaugural exhibition, “Dingle Does O’Flaherty’s” (on view through Oct. 8), certainly meets that criterion, spanning the fifty-year career of the Los Angeles renegade Kim Dingle. The main room, strewn with cans of White Claw and broken scissors, suggests a wild party at which no one is checking I.D.s. The guests are painted porcelain figures of toddler-age girls—uncannily lifelike tutu-clad statues, from 1993, that Dingle calls “Psycho Tods.” (A photographic doppellegänger appears in the 2021 installation “Wall Smasher 2,” pictured above.)"

By Andrea K. Scott - 2 October 2021

"Last summer, the painter Sarah Cain was contemplating the biggest project of her career: a 45-foot-long painting for the East Atrium of the National Gallery of Art, in Washington, D.C. Cain, 42, has been making caustically colorful, improvised abstractions since the mid-2000s and had been commissioned to hide construction walls during refurbishment of the atrium’s skylight. Nearby sculptures by Max Ernst, Isamu Noguchi and Richard Serra, too large to relocate, were protected by wooden boxes. Cain was tasked with painting on the boxes, too — each bigger than her studio. (And she needed a title.)"

By Jonathan Griffin - 30 September 2021

"The new body of work portrays the faces of young Black children as they face the harsh reality of a convoluted society that perpetually seeks to see and treat them as adults. Roberts combines sourced imagery with hand-drawn and painted elements to create arresting portraits that demand reflection. Each of her artworks brilliantly utilizes the whitespace of the canvas to allow the myriad of imagery and textures to pop off and draw the viewer into the dialogues hidden within."

By Shawn Ghassemitari - 28 September 2021

Mary Reid Kelley and Patrick Kelley are celebrated for video works featuring a distinctively graphic black-and-white palette and scripted narratives in rhyming verse full of punning wordplay by characters brought to life onscreen by Mary. Centered around two new film works—Blood Moon and I’m Jackson Pollock—the exhibition explores the mechanics of power and its fallibility, each film presented in an immersive world and experienced through a darkly funny lens. Co-curated by Alec Unkovic, Exhibitions Manager, and Karen Patterson, Curator and Director of Exhibitions.⁠

The exhibition features Watson's body of work tackling everyday scenes of the artist's life during the pandemic. Curated by Indra Lācis, Director of Exhibitions.⁠
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"Both individually and as a cohesive timeline, the artist’s Pandemic Paintings invoke active forms of reflection and remembrance, as well as a sense of mutually shared vulnerability and participation in understanding the surreal and significant events of 2020."

"In February 2019, Genevieve Gaignard wore a shirt at Frieze Los Angeles that read “Sell to Black Collectors.” Now, the artist has transferred that text into a triangle-shaped canvas that hangs in the booth of Vielmetter Los Angeles, as well as one that reads “Black Is Excellence.” These two works hang above recent photocollages by the artist on which found images from magazines like Ebony and Life are transposed over vintage wallpaper, a recurring theme in her practice. Gaignard’s forceful call for visitors to an art fair to think about how Black artists, collectors, and dealers have historically been excluded from the art market—and often continue to be—was hard to miss."

By Maximilliano Duron - 11 September 2021

"Sarah Cain is a painter living in Los Angeles. For her abstract works, she layers a wide range of paints and objects on canvas, as well as gouache on found papers, and creates projects “on-site” that are painterly responses to the architecture of galleries, abandoned houses, and, most recently, the East Building Atrium at the National Gallery of Art. On the occasion of her survey exhibition at the Tang Teaching Museum, Cain published a facsimile of her Music Book (2008–21): an illuminated manuscript of sorts made from a circa nineteenth-century album of sheet music. In the conversation below, we talk about the musk of our respective houses, not fully understanding musical notion, and making impressive art out of dumb ideas."

By Maddie Klett - 9 September 2021

Vielmetter Los Angeles congratulates Pope.L on the opening of Misconceptions, his first solo video exhibition in Germany at Portikus in Frankfurt. The exhibition features a new video work titled Missverständnisse. It consists of several episodes produced in the format of a TV quiz show and filmed at Portikus and other places around Frankurt's city center. The exhibition is curated by Christina Lehnert.

"What if? is an affecting experience, full of strangeness, horror, and grief, but the audiovisual components of the work still feel a little unresolved. Nevertheless, in a political and cultural climate as relentless as the one we’re in, Roberts deserves kudos for exploring such brutal content through what for her is a relatively new form."

By Amarie Gipson - August 2021

"Each piece starts with raw canvas and a primer coat of clear acrylic polymer that keeps the painting from sinking in all the way through the fabric. It also allows Neel to use white to create lighter areas against the background, many areas of which she leaves untouched, to “preserve a lot of air in the canvas,” she said.

But unlike her childhood oil painting sessions with Alice, Neel chooses acrylic paint to create her many-layered works.

“When I worked in oil, it took so long for every layer to dry that I would get out of the headspace I needed to feel a kind of continuity in the painting,” she explained."

By Sarah Cascone - August 23, 2021

The Gardner Museum commissioned Artists-in-Residence Mary Reid Kelley and Patrick Kelley to respond to Titian’s Renaissance masterpiece Rape of Europa, which will be on view in the exhibition Titian: Women, Myth & Power. The artists created a graphically stylized short film, also titled The Rape of Europa, that combines painting and performance with Mary Reid Kelley’s distinctive satirical poetry. In the film, Mary plays a range of historical and mythical characters trapped between comic and tragic scenarios, layered into a densely detailed collage by Patrick. Their dilemmas, expressed through rhymes and puns, refer to longstanding social issues that resonate with the present-day #MeToo movement. By giving a voice to the character of Europa, Mary Reid Kelley and Patrick Kelley humanize and liberate her from the subservient and silent role she had long been forced to play in the ancient myth described by male poets and artists.

"Bringing humor, absurdity, and “fresh discomfort” to the streets of Midtown Manhattan, Pope.L conceived of ATM Piece (1997) as a performance and an act of civil disobedience. Prompted by a law that banned panhandlers from standing within 10 feet of an automatic teller machine—as part of New York Mayor Rudy Giuliani’s “quality of life” campaign—Pope.L chained himself to the door of a Chase 24-Hour Banking Center with sausage links. Wearing only a pair of boots and a hula skirt made of easily detachable dollar bills, he planned to open the door and hand out money to the bank’s visitors. Via email, we recently discussed the relevance of this piece, 24 years after its making. The artist’s unedited responses are below."

By Veronika Molnar - 12 August 2020

"Silver nitrate is used in the manufacture of mirrors, but Arceneaux transforms it into a painting medium, creating reflective, fractured, and battered abstractions. The artist’s mother passed away from dementia while he was working on this series, and it reflects the painful breakdown of memory and recognition that he witnessed. Thwarting the mirror’s function to provide an accurate reflection, Arceneaux instead offers poetic sites for contemplation of loss and mourning."

By Elisa Wouk Almino - 11 August 2021

It is with great sadness that we announce the passing away of artist and friend, Louise Fishman, at the age of 82. Our heartfelt condolences go out to her partner, Ingrid Nyeboe, her family, and her close community of friends, artists, poets, musicians, and spiritual practitioners.

Born in Philadelphia in 1939, Louise Fishman forged a unique and prolific career — five decades of consistently manifesting the energy and vision required to create a more aesthetically generous world. In lineage with such painters as Franz Kline, Willem de Kooning, and Joan Mitchell as well as finding influence through friendships with artists Agnes Martin and Eva Hesse, Fishman developed an articulate and athletic approach to painterly abstraction merging the hard-edge objectivity of the grid and the gestural subjectivity of expressionism, all the while developing a language for art-making rooted in her identities as Jewish, feminist, and lesbian. 

Working with Louise was an absolute honor; her distinguished career, her feminism, her activism, and her oeuvre of dynamic paintings are a combined act of fortitude and grace. 

A retrospective of works on paper, A Question of Emphasis: Louise Fishman Drawing will be on view August 2021 — February 25, 2022, at the Krannert Art Museum, the University of Illinois at Urbana-Champaign. Curated by Amy Powell, A Question of Emphasis: Louise Fishman Drawing will be the first career-spanning exhibition and publication of Fishman’s works on paper, including more than 100 works from the artist’s archive that have rarely been exhibited alongside significant institutional and private loans.

"Despite Mutu’s trenchant critique, the placement of her work suggests an equivocal answer to the exhibition title. I am Speaking, Can You Hear Me? (2020) consists of a pair of figures facing each other. Large conch shells and sections of wood function as oversized ears, as though to magnify their listening capabilities. The two figures might hear what is said, but are they paying attention? One of them enacts a deception surely familiar to anyone who has been an unwilling confidant: an ear toward its neighbor, it feigns attentiveness while peering over the other’s shoulder toward the gallery’s Flemish paintings. These works include portraits of severe Dutch courtiers resplendent in lace cuffs and winking gold rings, several of which gaze past Mutu’s sculpture onto an expanse of lilac-hued wall. The gallery is an example of self-containment—hearing without listening."

By Jess Chen - 14 July 2021

"Disturbing the View at the Whitney is a performance happening throughout the summer by New York-based artist Dave McKenzie. McKenzie uses window-washing instruments to activate the museum’s floor-to-ceiling windows by repeatedly, and rhythmically, apply a chalky substance. This action indeed disturbs the view to the stunning vistas overlooking Lower Manhattan.

A small survey of McKenzie’s filmed performances over the last 20 years is staged on the third floor, and grounds Disturbing the View in the artist’s explorations into the everyday performance of moving through space. In this June 2021 conversation, we talk about grocery stores, adolescence, and the desire to make art that we want to see in the world."

By Maddie Klett - 14 July 2021

"The St. Louis-born, Brooklyn-based artist recently completed a residency at Miami’s Rubell museum, where she focused on making her paint skin work “bigger and more luscious,” she says. “I had the space and support to work at a scale that my heart’s always wanted to, which gave me the confidence to go big going forward.” Her works can stretch 15 feet wide and 20 feet tall."

By Akili King - 11 July 2021

"Sarah Cain is an artist who explores and expands upon traditional ideas of painting, often modifying canvases by cutting and braiding, painting on all sides, and installing the canvas with the back of the painting facing the viewer. She also paints on other surfaces, including interior and exterior walls, floors, and dollar bills, and often includes found objects such as crystals, feathers, beads, and other items she has a personal attachment to. Her process involves many layers of altering a composition—a cycle of creation and destruction that, in part, revolves around self-discovery. Cain describes herself as a feminist painter, using elements seen as feminine as an act of non-conformity and as an alternative to the traditional hierarchies of painting."

"Zuckerman made operational changes to the building as well — mostly tweaks related to security, staff offices or visitor experience. She added five board trustees and nailed down the new opening date. She also began acquiring art, beginning with an “eight-talisman installation” by L.A. artist Sarah Cain.

“Eight is the number of infinite abundance,” Zuckerman says. “They’re painted dollar bills suspended from the ceiling with fishing wire. The backs are silver or gold and the fronts are vibrant [colors]. I tell our team, ‘Walk under them, tell them what you need!’”

By Deborah Vankin - 14 June 2021

UTA Artist Space is pleased to present Beyond the Looking Glass, a group exhibition of surrealist takes by women about women. Beyond the Looking Glass is curated by gallery director Zuzanna Ciolek, one of the first members of the UTA Fine Arts team when it was established in 2015.

The ambitious exhibition fills all three gallery spaces with bold works by a cross-generational group of fourteen women-identifying artists: Firelei Báez, Tawny Chatmon, Charlotte Colbert, Kim Dacres, Florine Démosthène, Genevieve Gaignard, Sanam Khatibi, Klara Kristalova, Shannon T. Lewis, Jesse Mockrin, GaHee Park, Hiba Schahbaz, Kiki Smith, and Jessica Stoller.

“While organizing this exhibition, I enjoyed poking holes in traditional standards of beauty in art and pop culture,” said exhibition curator and UTA Artist Space director Zuzanna Ciolek. “And within that playful and provocative framework, the show aims to explore contemporary femininity and representation.”

Beyond the Looking Glass presents a new lens for representation through surreal and uncanny artworks that address sexuality, race, and identity— radically defying solely ornamental representation. Taking inspiration from Alice in Wonderland, the title Beyond the Looking Glass is a twist on Through the Looking Glass, moving beyond a world where women are being seen as purely ornamental. The exhibition pulls viewers into an unexpected world filled with surrealist characters such as an elephant girl, a pink “C-section” vessel equipped with breasts, and a woman riding a reptile. While disrupting traditional portraiture of the Western Canon and confronting stereotypical representations of women, the figures portrayed transcend these societal constraints. With these archaic indicators of femininity stripped away, the surreal and expressionist imagery allows her to break out, expanding beyond the body.

Sarah Cain’s energetic installation jumps the bounds of a 45-foot-long painted canvas to integrate a variety of surfaces in the East Building’s Atrium. Extending onto the nearby protective sculpture enclosures and well covers, Cain’s painted elements surround and complement the canvas to create a dynamic installation that encourages movement and close looking. To the canvas, the artist applied sculptural elements of torn, cut, sewn, draped, and beaded sections, with additions of silver and gold leaf and paint rollers, inviting discovery and drawing from wide-ranging sources. The title of My favorite season is the fall of the patriarchy is lifted from a coffee mug. In this installation, Cain generates a flow of abstract moments between hard-edged shapes that traverse an atmospheric spray-painted backdrop to create a riotously colored work dynamically playing between painting and sculpture.

Initially, Cain had planned to paint directly on the temporary walls and enclosures on site. When the pandemic prevented her travel, she adapted her approach. After painting seven eight-by-seven-foot canvases in her Los Angeles studio, she then shipped them to the National Gallery, where they were installed across the long wall. The artist also oversaw (via video) National Gallery staff who painted three protective sculpture enclosures and three planter well covers. These structural elements surround and complement the painting, which floats in an energized arena animated by Cain’s bright palette.

On view June 18, 2021 - Spring 2022

Vielmetter Los Angeles — in collaboration with Cultured Magazine — is pleased to announce the launch of a new editioned print by Los Angeles artist Math Bass.

This distinctly graphic print is from the artist's ongoing series entitled Newz!; a seamlessly sophisticated composition informed by the artist’s signature visual lexicon of symbols and shapes. Screen printing by Tom Kracauer, Los Angeles with additional lithography by Francesco Siqueiros (El Nopal Press). Printed on Coventry Rag; 100% cotton and acid free.

Math Bass "Newz!," 2021 
Limited edition screen print + lithograph
21 x 19 inches (53.34 x 48.26 cm) paper size
Edition of 50; Signed, dated, editioned on verso
Courtesy of the artist, Vielmetter Los Angeles, and Cultured Magazine
Photo credit: Jeff McLane
2000 USD

The Aldrich Contemporary Art Museum presents from where i stand, the first solo museum exhibition of Hugo McCloud. McCloud’s work has been defined by a restless experimentation, an ongoing engagement with process, an exploration of the value of labor, a concern with disparities in social and racial economics, and with the nature of beauty. McCloud’s earlier work can generally be categorized as abstraction, with its veiled subject matter growing out of his experiences of being biracial and his family’s working-class roots. These influences are evident in the materials and process he gravitates to—roofing metal, tar, and most recently plastic shopping bags. He has consistently used non-art mediums to encode social and cultural memory and to reflect on notions of race, class, and economic inequity. His latest figurative works, which were influenced by his move to Mexico in 2018, are composed of single-use plastic bags, depicting workers transporting towering piles of goods on bicycles, motorcycles, and their backs, as well as the overfilled carts of the homeless and indigent. Increasingly, his work speaks of the economics of labor and geopolitics on a fundamental level, while encapsulating the artist’s interest in global culture. from where i stand will occupy The Aldrich’s entire first floor and will include approximately thirty-five works borrowed from both private collections and the artist.

Vielmetter Los Angeles is thrilled to announce the acquisition of Double Dominant 4 (Rodney McMillian), 2018 by the Hammer Museum in Los Angeles. This drawing was included in Haendel's 2020 exhibition Double Dominant at Vielmetter Los Angeles.

The exhibition featured monumental drawings of the dominant hands, doubled, of 24 LA based artists of Haendel’s generation. These highly rendered drawings, for which the artist digitally manipulated the dominant hand of each subject to impossibly interact with itself, ask us to consider labor, time, human touch and individual style in relationship to the practice of making art. The project also reflects the artist's deep commitment to his community of artists, and the high value he places on dialogue and conversation within that community. A volume reproducing the complete set of works, published by Triangle Books with an essay by Natilee Harren, accompanied the exhibition.

"Drawn primarily from SJMA’s permanent collection, Break + Bleed features both paintings and works on paper by historically significant artists who exemplify the spirit of post-painterly abstraction through an expansive range of styles including hard-edge abstraction, Color Field painting, Op art, Minimalism, and soft-edge abstraction. Artworks in this exhibition feature biomorphic and geometric shapes, angular and wavy lines, and lively planes of color. The work of Josef Albers—from his celebrated series devoted to the square, exploring the subjective experience of color—may be the most recognizable. For Karl Benjamin, interlocking and sometimes twisted shapes created energetic color associations and incongruous patterns. This exhibition also features contemporary artists like Linda Besemer, Patrick Wilson, and others who are pushing post-painterly abstraction into new territories."

Friday, June 4, 2021–Sunday, April 3, 2022

Organized by Rory Padeken, curator


Artists Paul Mpagi Sepuya and Genevieve Gaignard are featured in "Photo Flux: Unshuttering LA" at The Getty Center. On view May 25 - October 10, 2021.

"Photographs by 35 Los Angeles-based artists challenge ideals of beauty, representation, cultural capital, and objectivity. The artists in this exhibition, primarily people of color, have radically transformed photography to express their own aesthetics, identities, and narratives. Their work is foundational for an emerging generation of artists participating in the Getty Unshuttered program, which engages teens to seek photography as a platform to amplify social topics that resonate in their own lives."

Curated by jill moniz

“Affinities for Abstraction: Women Artists on Eastern Long Island, 1950-2020” Parrish Art Museum

"Contemporary makers like Amy Sillman, who painted “C” (2007), and Jacqueline Humphries and Virginia Jaramillo are included, too, delineating the connections among generations."

“Wangechi Mutu: I Am Speaking, Are You Listening?” Legion of Honor Museum

"The Kenyan-American artist Wangechi Mutu, who splits time between Nairobi and New York, has made many museum appearances, including in the 2019 Whitney Biennial, but this is among her biggest solo exhibitions."

By Ted Loos - 21 May 2021

Now available in our webshop:⁠ Ruben Ochoa's second limited-edition fundraising print⁠ supporting The Street Vendor Emergency Fund!⁠
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Your purchase of Ruben Ochoa's LACMA x Snapchat fundraising print directly supports the initiative of Inclusive Action's emergency Los Angeles Street Vendor Campaign. The funds from each individual print will translate directly to a $400 cash card for street vendors and their families, many of whom have not been eligible to receive direct pandemic relief funding from the government.⁠
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¡Vendedores, Presente! responds to L.A.’s shared history with street vendors. Ruben Ochoa draws attention to the region’s familiar fruit carts, paleteros, and flower stands creating a large-scale immersive environment that calls for solidarity with vendor advocacy. This project is part of LACMA × Snapchat: Monumental Perspectives.⁠

"In Deborah Roberts: I’m, the artist’s first solo show in Texas, the powerhouse artist continues investigating ideas of beauty, race, happiness and safety through depictions of Black children. Originally meant to open September 2020, the exhibition was postponed to January 2021 due to the pandemic. Roberts used those quiet quarantine months to edit the exhibition deeper and go bigger. The pandemic revealed the preciousness of human life, and fueled the collagist to heighten existing mixed media pieces. Black children needed to be seen and affirmed on a grander scale."

By Jasmin Hernandez -19 May 2021

Vielmetter Los Angeles congratulates Rodney McMillian on his inclusion in Our House: Selections from MoCA's collection at the Museum of Contemporary Art Los Angeles, organized by Bennett Simpson. The White House II, 2020, on view at MoCA, was acquired for the museum's permanent collection earlier this year. The exhibition opens to the public on June 3rd.

"Through dozens of small, colorful paintings, Esther Pearl Watson (Art MFA 12) depicts a rapidly changing world in which the once mundane is juxtaposed against an unprecedented crisis. As the pandemic continued, Watson’s desire to document everyday life in its midst grew stronger. ⁠
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Watson spent the last year creating a visual diary. It’s a trip to the neighborhood grocery store, but there’s a line outside and the store is completely out of toilet paper. A family goes on a walk in their neighborhood, but they’re all wearing masks. As the days dragged on, Watson felt a growing desire to document this new normal."

By Juliet Bennett Rylah⁠ - 14 May 2021

"A new exhibition at San Francisco’s Legion of Honor, Wangechi Mutu: I Am Speaking, Are You Listening?, speaks to this moment. A concerted effort to decolonize the museum as it reopened this week after a Covid-induced hibernation, it consists of recent works by the Kenyan-American artist situated throughout the Legion’s galleries, rather than in one or two rooms. There, her works exist in dialogue with the Legion’s Eurocentric permanent collection, a reflection of the sensibilities of the industrialists who endowed it a century ago. In all, I Am Speaking is a pulse of transgression throughout this staid secular temple."

By Peter-Astrid Kane - 8 May 2021

Vielmetter Los Angeles congratulates Wangechi Mutu on the opening of I'm Speaking, Are You Listening, a survey of the artist's work, curated by Claudia Schmuckli, at the Legion of Honor, Fine Arts Museums of San Franciso.⁠
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"Over the past two decades, Wangechi Mutu has created chimerical constellations of powerful female characters, hybrid beings, and fantastical landscapes. With a rare understanding of the power and need for new mythologies—the productive friction of opposites beyond simple binaries and stereotypes—Mutu breaches common distinctions among human, animal, plant, and machine. At once seductive and threatening, her figures and environments take the viewer on journeys of material, psychological, and sociopolitical transformation." 

"Born in 1962 in Austin, Texas, Roberts makes work that can be understood, from one angle, as a reimagining of the Black twentieth century through mixed-media art on paper. Her art centers the social worlds of Black children. Through the use of an ever-expanding range of materials, Roberts animates the still figures of these young people set against a sharp white background in more ways than one: they throw up peace signs, they strut and dance, stand defiantly with hands in pockets, sit on the floor with palms locked in front of their shins, defend one another by placing their arms between the body of a friend and the world of the viewer."

By Joshua Bennett - 4 May 2021

"Trained in printmaking, McKenzie is undaunted by the rote repetition of ordinary tasks, or by a confrontation with the same. In these works – both of which are now on view as part of ‘The Story I Tell Myself ’, the artist’s solo show at the Whitney Museum of American Art in New York – recursion is a conduit through which McKenzie articulates his semi-private realism: moments that, to evoke the writer Samuel R. Delany, come ‘blaring in through the five senses’ (Dhalgren, 1975), and so resist easy consolidation. McKenzie’s elegiac form is a reminder of the debts of our cultural and political ancestors, which we do not inherit, but that we become. "

By Shiv Kotecha - 19 April 2021

"ArtYard is pleased to present, Girl You Want, curated by J. Vanessa Lyon and featuring artists Genevieve Gaignard, Julia Greenburger, Jen Liu, Josh Rabineau, Wendy and Beatrice Red Star, Karinne Smith, Ivy Stewart, and María Vargas Aguilar.

What’s a girl? What do you expect from a girl or want girlhood to be? How are girls un/made? Are they pieced together, imagined, constructed? This exhibition examines what girling looks and feels like through a range of representational strategies, from portraiture to speculative narrative; from dress to interiors and the prettified materials of commodification and colonization. In this show “girl” and “girly” are not offered as stable or essential but are rather understood as shifting states untethered to “sex” or even age."

"This month, “Dave McKenzie: The Story I Tell Myself” opens at the Whitney. Curated by Adrienne Edwards, the exhibition pairs McKenzie’s videos with a selection of works from the museum’s collection by, among others, Bruce Nauman, Trisha Brown, and Pope.L. On Fridays and Saturdays, McKenzie plans to be on-site to “wash” the exterior of the museum’s floor-to-ceiling windows with a viscous mixture that will do more to obscure the view than clear it up, recapitulating how “squeegee men” used to soap up the windshields of cars stuck in traffic before a Giuliani-era crackdown in the mid-’90s."

By Colby Chamberlain - May 2021

In celebration of Ruben Ochoa’s project for LACMA × Snapchat: Monumental Perspectives, view a short documentary series that follows street vendors as they unpack the history of the vending economy in Los Angeles, their efforts to organize and build sustainable businesses, the challenges and threats they face in this work environment, and the great impact the pandemic has had on this community. 

Join us for a FREE virtual conversation with Suzanne Hudson, Math Bass, and Christina Quarles (via Zoom) on April 30 at 5 pm PST! ⁠ ⁠ In her forthcoming book "Contemporary Painting" (Thames and Hudson, April 2021), Los Angeles-based art historian and critic Suzanne Hudson considers painting as a vibrant and sometimes contentious critic of a dynamic global society.

During this talk, Hudson is joined by two esteemed painters, Math Bass and Christina Quarles, featured in the book.⁠ ⁠ This event is moderated by curator James Glisson from the Santa Barbara Museum of Art and Alexandra Terry from the Museum of Contemporary Art Santa Barbara. ⁠ ⁠

"An enormous piece of Mexican street corn, slathered in chile powder and Cotija cheese, is soaring over MacArthur Park on Tuesday morning. A runaway orange bounces in the foreground; fruit carts with rainbow-colored sunshades float in the sky.

The augmented reality artwork, “¡Vendedores Presente!” by Ruben Ochoa, is one of five virtual monuments debuting Tuesday, geolocated to sites across the city in a project from the Los Angeles County Museum of Art and Snap Inc., the parent company of Snapchat."

By Deborah Vankin - 13 April 2021

"In this regard, “Keeping Time” is a stroke of mastery. Wilson’s frame within frame style always manages to keep you on your toes as the works, never culminating, constantly build and subtract within themselves. We can see this effect in a work titled Afternoon Breeze (2020). A patch of blue, in one place vibrant, melts into the red background with a mild transparency, and is harshly bisected by a think pink frame. Nearby, a pink and orange frame overlaps a field of subtly gradating maroon and sienna, capturing on one end a shred of the hot pink background. Finally, the offset canvases abutting at a hard right angle throw the entire work into a rectilinear staccato."

By Cole Sweetwod - 31 March 2021

"Kahraman depicts a feminine self which is not one but a fragmented “subject” formed from a network of cultural discourses. “She” embodies the weight of history, injuries, invisible scars and traumas female survivors carry around until they can heal and build a bridge from the past into the future. Because Kahraman uses her personal memories of trauma to address collective trauma, her paintings have a universal relevance. Although her mnemonic paintings are disturbing, they are concerned with the art of mending physical and psychic wounds. "

By Lita Barrie - 31 March 2021

Wednesday, April 7 — 4:30 PM PDT

Through documenting contemporary activists focused on women’s rights, migrant justice, workers’ rights and climate justice, Andrea Bowers is committed to an intersectional feminism that dismantles gender privilege and builds community. Her multivalent art practice documents and honors the activists whose everyday actions forge meaningful change. Bowers is represented by Vielmetter Los Angeles, Andrew Kreps Gallery in New York, Capitain Petzel in Berlin, Kauffman Repetto in Milan, and Jessica Silverman in San Francisco. 

To register please follow the link below.

"‘I’m’ demonstrates the range of ways the artist explores underrepresented narratives. Upon entering the gallery, visitors are welcomed by three of Roberts’s text-based works: La’ Condrea is a noun. (2020), We ≥ They (2020) and Anqwenique is mild as milk (2020). The titles of each work correspond to text silk-screened on sheets of paper, roughly the size of picket-signs. Both La’ Condrea is a noun., and Anqwenique is mild as milk, bear a red spell-check squiggle under the girls’ names – an indicator of how even these girls’ names are policed by computer software."

By Lise Ragbir - 19 March 2021

Congratulations to Steve Roden whose work has been acquired by The Frances Young Tang Teaching⁠
Museum and Art Gallery at Skidmore College as part of a gift from Michael O. and Sirje Helder⁠
Gold. ⁠
⁠
The gift includes works created in the 1990s⁠
and 2000s by a diverse group of leading and⁠
emerging artists, including Louise Bourgeois,⁠
Sean Duffy, Naomi Fisher, Iva Gueorguieva,⁠
Michelle Grabner, Carol Hepper, Steve Roden,⁠ Jonathan Seliger, Glen Seator, George Stoll,⁠ Beverly Semmes, and Barbara Takenaga.⁠

"For more than four decades – across painting, drawing, animation, zines and an increasing corpus of writing – Sillman has combined a dialectics of intimacy and awkwardness, self-deprecation and prowess, figuration and abstraction. She has developed a pragmatic philosophy of painting that mobilizes doubt, treating mark-making not as a grand testament to an artist’s skill but as an invitation for us to follow and think alongside her."

By Tausif Noor - 23 February 2021

"Eisenman, who is fifty-five, constructs figurative, narrative images filled with angst, jokes, and art-historical memory. Her work tells stories of broad political inequity—“Huddle” (2018) conjures a surreal and sinister gathering of white men in suits, high above Manhattan—and, more intimately, of solitude and of solidarity, at the beach and in the back gardens of bars. Partly because Eisenman’s creations often trouble to notice how the world looks now, and won’t look forever—a man in Adidas slides; a laptop on the train—they seem likely to survive long enough to carry into the future a clear sense of our present. "

By Ian Parker - 22 February 2021

"I’m features all new work, including figural collage with hand-painted elements and two firsts for the artist: an interactive installation and a grand-scale mural on the building’s exterior. COVID unsurprisingly postponed the show’s opening from September, a strange silver lining which meant more time in the studio. Roberts has acknowledged that the extraordinary events of 2020 began pushing their way into the work. Portraits of Black children took on new meaning after months of lockdown and nationwide Black Lives Matter protests. Half a year later, her “kids,” as she calls them, finally occupy The Contemporary’s first floor, challenging a dominant society that all too often denies their beauty and humanity."

By Barbara Purcell - February 2021

"I visited Math Bass Echo Park studio in the last days of 2020 as they were finishing a new body of work for their solo show, “Desert Veins,” opening a few weeks later at Vielmetter Los Angeles. Over the past six months, I had been receiving texts from Math with images of their paintings in stages, beginning with the faintest underpainting and then building up over weeks with layers of richly colored oil. These paintings becoming paintings arrived to my phone like precious gifts that I viewed over and over again. One week brought the severed head of Anubis and a white gloved hand reaching towards it (what Math calls “anthropological imaging”), the next a snake body wrapped around a pile of eggs. A few weeks of silence followed, and then, as the isolated winter set in, dozens and dozens of paintings of a field of graves began appearing, almost like prayers."

By Isabelle Albuquerque - 15 February 2021

"From the start of her 15-plus-year career, Cain tells me on Skype, “people always give me the weird spots that they don’t know what to do with.” I’m on the East Coast, and she’s in her Los Angeles studio, surrounded by eight-by-seven-foot canvases that will come together as one painting on a very large, temporary construction wall. “I was really excited about the project. I thought, Okay, I’ll go there and make a massive work on-site.” Part of the fun would be supplanting the “old dudes,” the male 20th-century masters who have always occupied the atrium, and this thought contributed to the show’s title: “My favorite season is the fall of the patriarchy.”"

By Dodie Kazanjian - March 2021

"In 2019, the Biennial at New York’s Whitney Museum of American Art included three of her sculptures, and across town the Metropolitan Museum of Art prominently inserted her caryatid sculptures into the niches on the exterior of its building. The show at the Legion of Honor, part of the Fine Arts Museums of San Francisco, will be among her most significant exhibitions to date, and Mutu and the curators have taken an unusual approach. Instead of dedicating a few spaces to the artist, they will strategically place the 18 works in the museum’s courtyard and throughout its first-floor galleries. The arrangement—meant to offer a critique of colonialism, with African culture asserting itself in multiple Eurocentric spaces—makes it as much an intervention as an exhibition."

By Ted Loos - 4 February 2021

The Elson Lecture Series features distinguished contemporary artists who are represented in the National Gallery of Art's permanent collection. On June 15, 2020, Kelly presented an overview of her career and discussed her artistic practice with Shelley Langdale, Curator & Head of Modern Prints and Drawings at the National Gallery of Art, Washington.

"Roberts’s new show, I’m, which debuts at the Contemporary Austin January 23, is her first major solo museum exhibition in Texas. I’m features her paintings, signature collages and an interactive sound, text and video sculpture. The museum also commissioned Roberts to create an ongoing installation, a mural on one of its buildings. Titled Little man, little man, a tribute to James Baldwin’s children’s book of the same name, the mural depicts a young Black boy in six different poses of dance and celebration."

By Lane Florsheim - 23 January 2021

"Watson’s matter of fact, colorful and simplistic style shares affinities with folk artists like Grandma Moses. Her process is to document the everyday, that which surrounds her and is simultaneously banal and in these dire times, disconcerting and unusual. The pieces are at once familiar, stemming from observation, yet also surreal. Her “Pandemic” paintings were created quickly and together create a narrative that traces the uncanny spread of the virus and how it affects the individuals, students, families and communities of Los Angeles."

By Jody Zellen - January 2021

"Deborah Roberts is making some of the best work of her life—just ask the artist herself. In “I’m,” a solo exhibition opening this weekend at The Contemporary Austin (her first at a museum in Texas, her home state), Roberts’s interrogations of Black bodies—how they’re seen, and when prejudice diminishes them—have a new urgency. Her figures loom larger in the frame than they used to, claiming more space for themselves. And if Roberts can’t easily explain that shift, what she does know is that it’s working. “I’ve always allowed the work to lead me,” she tells me. “It’s not always been down the right path, but it’s been an exercise, you know? And the work is getting better as it gets larger.”

By Marley Marius - 21 January 2021

"Most of the works were made in 2019, before any notion of the pandemic infiltrated our daily lives. Yet, looking at these large scale works that encompass one’s field of vision, the process of being deconstructed, ripped apart, and then stitched back together again feels familiar. The show, titled “This is Real” might provide a reminder that the “normal” we came from certainly won’t be the one we return to, and perhaps we will arrive on the other side of this more colorful and dimensional than we were before. "

By Lindsay Preston Zappas - 12 January 2021

"Esther Pearl Watson finds a way to channel the surrounding strangeness of this period — and our collective adapting to an unprecedented time — in Safer at Home: Pandemic Paintings at Vielmetter Los Angeles. In more than 100 paintings, the artist froze mundane moments that she observed during the pandemic, which collectively catalogue larger shifts like social distancing, racial uprisings, and economic uncertainty. "

By Eva Recinos - 12 January 2021

"Bass’ work is like a ride on the Long Island Rail Road, winding through a certain kind of world, in which crushed skulls and young love happen simultaneously and often unnoticed, where aspiration and reality meet, where the Piano Man’s jar is filled up with cock-like bread, where hearts are broken and lose their three-dimensionality, only to unflatten at the sight of beautiful arms at work on a floor. And then, eventually, you reach the lighthouse, where the water crashes up against the shore, and there you lie, naked, hoping the droning illumination will project you into yet another narrow strip of land filled with memories."

By William J. Simmons - 5 January 2021

"Coming of age at the tail end of Abstract Expressionism, the painter went through a number of styles (some of her early works employed language) before distilling her influences, from Agnes Martin and Joan Mitchell to feminist politics, into a potent vocabulary that plays with space in a sometimes languid, sometimes jarring, but always graceful way."

By Hilton Als - December 2020

"Watson started the body of work that became Safer at Home: Pandemic Paintings in March in the early days of the shelter in place orders in Los Angeles, and the series spans the timeline of the pandemic right through to the days before the show opened at Vielmetter Los Angeles in late November. In a still ongoing series of nearly 200 paintings, each no bigger than a laptop, Watson processes the subtle and cataclysmic changes wrought by a season of public health crises, civil unrest, and political volatility. But she does this through a lens as intimate as the work’s scale, with street views of urban and suburban blocks, one frame at a time."

By Shana Nys Dambrot - 10 December 2020

"McMillian’s works feel grounded––historically, physically, ideologically––in an arresting and visceral manner, beyond the white cube of Vielmetter. His small paintings are complemented by human-sized cells, constructed from cardboard, fabric and acrylic. These modular, darkened masses are suspended from the walls, implicating viewers in their murky, iconic depths. Motionless, yet organic, these forms serve as manifestations of the lost “accursed share” suggested by McMillian’s constellation of quotations. Juxtaposed with the paintings’ brutal abstraction and panoply of voices, these cardboard assemblages function as doors opening onto  a distorted body."

By Josh Wagner - December 2020

"Walking into the exhibition’s installation room, with its dark green motif wallpaper and midcentury wooden furniture, feels like taking a step back in time. Icons of the civil rights movement such as Martin Luther King Jr. and President John F. Kennedy are prominently featured on the walls, and vintage luggage, frames, and rag dolls are strewn about the room."

By Lana Nauphal - 2 December 2020

"Stanya Kahn’s current outing at ICA Los Angeles consists of just three filmic works produced over a ten-year span. Anyone hoping to grapple with a greater breadth of the artist’s considerable output, will have to wait. That said, the curatorial choices here are pointed and vividly bring to life the artist’s core themes. Foremost among these is an abiding concern with the problem of language – that part of communication which structures human experience and renders it meaningful, yet by the same token can serve to limit, and even undermine existence as such. All three videos would seem to take their cue from an acute premonition of communication breakdown, which is seen to rebound, with mounting force, between continually marginalized human actants."

By Jan Tumlir - 17 November 2020

"For Body Politic, his latest exhibition at Vielmetter Los Angeles, McMillian continues working in an additive manner. The White House Painting, II (2018–20) is made from the physical remnants of the 2018 version, while works on paper such as An Abbreviated History in Abstraction (2019–20) reflect a history of violence against Black individuals, contextualized by writings such as Harriet A. Washington’s Medical Apartheid (2007)1 and Dorothy Roberts’s Killing the Black Body (2000)."

By Jennifer Piejko - November 2020

"Rodney McMillian’s new show at Vielmetter Los Angeles, Body Politic, springs from such histories of the medical exploitation of Black people in the United States. His bright paintings and huge black sculptures of body parts, which together assess American Abstract Expressionism, are inspired by the groundbreaking work of scholars Dorothy Roberts and Harriet A. Washington. The former wrote about the eugenic controls of Black people and the latter authored the 2006 book Medical Apartheid, which sets forth the above story about Mr. Yeagin and also documents research conducted on Black prisoners."

By Yxta Maya Murray - November 2020

"The Institute of Contemporary Art, Los Angeles (ICA LA) presents a trio of Kahn’s films in the exhibition Stanya Kahn: No Go Backs, which runs through January. In addition to the world premiere of No Go Backs, curator Jamillah James complements the film with Stand in the Stream, filmed between 2011 and 2017, and It’s Cool, I’m Good (2010). The films capture Los Angeles throughout the last decade, a landscape that remains consistently familiar even as civil rights, climate change, and Kahn’s personal relationships rapidly evolve. "

By Renée Reizman - 3 November 2020

"Rodney McMillian’s Body Politic at Vielmetter Los Angeles builds on themes the artist has long engaged with: racial and socioeconomic injustice, and the relationship between politics and aesthetics.

The exhibition is comprised of collages with text and semi-abstract sculptures, as well as one wall-sized installation. McMillian’s strategies are not novel, but he has rigorously honed his craft. His grasp of nuance and light-handed approach coax viewers in before confronting them with the history of racism in the United States."

By Natalie Haddad - 30 October 2020

"Stanya Kahn has always been politically engaged. Recently, on her Twitter and Instagram accounts, she has consistently posted and reshared vital information for people protesting police murder, brutality, and structural racism. Moreover, she and her son Lenny were out in the streets of LA protesting after the murder of George Floyd; and they, like many of the other protestors, were physically and mentally vulnerable in the face of a militarized police force. "

By William J. Simmons - 26 October 2020

"“A Consequence of History,” a 2020 collage-and-text work by Deborah Roberts made exclusively for T and inspired by the art of Barbara Kruger. Both artists use found imagery in their work — though Roberts generally does not combine her images with text, as she does here in tribute to Kruger’s style. They also both attended Syracuse University, at different times. In an interview, Roberts said that in Kruger’s art, “There’s no room to not understand what she’s talking about.”

By Megan O'Grady - 19 October 2020

"Who is in for a couch conversation with Kennedy Yanko and Kimberly Drew? The former’s Vielmetter exhibition in Los Angeles, “Salient Queens,” is up now providing juicy fodder for a discussion surrounding a new body of work that deals in scrap metal and the juxtaposition of competing narratives. “After I pull metal and other materials from salvage yards, I sit with them in a formal dialogue. I have to understand their physical stance before I can comprehend their presence conceptually. In time, the objects’ stories reveal themselves to me. From there, I can begin to transition the material away from its previous circumstances and reposition its atomic particles (literally, and metaphorically) such that their compositions may be perceived differently and thus newly defined,” says Yanko. To accompany the opening of the exhibition, photographer Mike Vitelli captured Yanko in avant-garde fashion pieces surrounded by the work on view."

- 16 October 2020

"Checkerboard tiles, circular tables, soup bowls, and other interior details are transformed into ecstatically abstract elements under Dingle’s deft brush. In several paintings (including “Full Service,” above), unaccompanied toddlers are seen sharing a meal, suggesting an antic portrait of socially distanced dining and pandemic parenting."

By Andrea K. Scott - October 2020

"One can easily understand Wall’s point upon seeing a piece like Disinfect Our Politics (2020), which includes an image from a vintage advertisement that features a blindfolded white man, who resembles a politician, centered between mirror images of Black women sporting face masks and cleaning spray against a backdrop resembling an inverted confederate flag.Something in the milk isn’t clean and the imagery of Black women cleaning it up speaks volumes, not just in relation to politics, but to corporate America and the home."

By Dominique Clayton - 13 October 2020

"Many of the new paintings seem moderately askew, arranged around an axis maybe 10 degrees off-center. That’s a form of painterly organization she’s used in the past, though here the slant feels more like wobbling, careening. “I really believe in the politics of improvisation,” she says. “On its good side, it’s about contingency, emotions. Tightrope walking.”

By Jason Farago - 8 October 2020

"This exhibition comprises three works by Kahn produced over the past ten years, including her latest short film, No Go Backs (2020), marking its Los Angeles debut. Together, these videos present an urgent reflection of our times, foregrounding global concerns such as climate change, racism, state power, and rebellion with the artist’s singular humor and embrace of experimental time and narrative."

Free drive-in screening October 7th, more info here.

"For the site-specific project, the artist looks at ideas of representation, media aesthetics, and domesticity in collage works made of vintage wallpaper and magazine clippings—like one reading “We Are More Than a Moment” in neon, and another featuring cutouts of women, flowers, and logos from an old issue of Life. Within the vitrines, visitors will find elements of photography and everyday objects like sunscreen, garden hoses, and flip-flops make up 3D installations that encouraging a closer look into Gaignard’s universe."

By Pearl Fontaine - 10 September 2020

"The cool, analytical postmodern tradition has been shot through with the warmth of naked bodies touching. Sepuya doesn’t simply include the camera in the image but rests it tenderly in the crook of his subject’s neck. He doesn’t just show the artist’s hand but places it gingerly on his subject’s back. The images allow the viewer to take pleasure in the surface as well as to look for meaning below it. The photograph’s soft lines and the visible smudging on the mirror add an almost paint-erly texture to a photographic print."

By Ashton Cooper - September 2020

"Eisenman has lately funneled much of their perversity into raucous sculptures that answer exactly to the tenor of our ghoulish, carnivalesque politics. But political life and social life are not exactly the same. There is a difference, for instance, between a rally, where people shout slogans, and a salon like Ariana’s, where people read, and listen, are witty and perverse, and expose their vulnerable inner lives, and where everybody is watching to see what happens next."

By Sebastian Smee - 19 August 2020

"Throughout Kahn forms contemporary layers over historic land contestations: the boys travel by bikes instead of carts, northbound rather than along the southerly inroads formed by westward expansionism during the 19th century; they carry plastic water bottles that must be constantly replenished and skate the dusty half-pipe of the Los Angeles River over which surface waters scantly flow. Albeit subtly, ‘No Go Backs’ never loses sight of the fact that scarcity has been purposefully etched into this landscape."

By Gabriella Beckhurst - 20 August 2020

"Los Angeles-based dealer Susanne Vielmetter started out with a simple idea for her business: reflect the culture that you see around you. With that in mind, she opened her gallery in 2000 with a diverse, gender-balanced stable of artists at a time when white male conceptual artists were dominating the West Coast scene.

Now, as she marks her 20th anniversary in the business, the world is catching up."

By Kate Brown - 6 August 2020

"Pope.L’s I-Machine (2014–20) has a handmade, provisional appearance that conveys a sense of a thing in a state of ongoing and perhaps hopeless becoming. The artist describes the work as a 'self-blinding contraption… self-blinding because its function is to encourage unknowledge or ignorance or, at best, reflection on ignorance and doubt. by encourage, i mean, when one is in the presence of this assembly, one should feel prodded toward opacity, uselessness, dumbness and incompleteness rather than transparency, smarty-pantsness and wholeness.'"

By Artforum - July 2020